234 West 131st Street, ca. 1932.

"Wurts residence, ca. 1912. The Wurts brothers were the premier architectural photographers of early 20th century New York City — in fact, they took this photo!"

St. Philip’s Episcopal Church, founded in 1809, is one of the country’s oldest black parishes. From its origins in Lower Manhattan, the church moved uptown several times, following the black community and seeking safety from sporadic violence such as the race riot of 1900. Around the turn of the century, church rector Hutchens Chew Bishop began buying Harlem rental properties, evicting whites and renting to blacks. With the income, he bought land on 134th Street and hired black architect Vertner Tandy to design a new building. The impressive Gothic structure provided a spiritual and community home for black parishioners in Harlem.

498 West 130th Street, ca. 1932.

Saint Philip’s Protestant Episcopal Church ARCHITECT: Tandy & Foster DATE: 1910-11 STYLE: Neo-Gothic, Church St. Philip’s Protestant Episcopal Church is the fourth home of New York City’s first African-American congregation of Protestant Episcopalians. From its beginnings as the African Episcopal Catechetical Institution in the City of New York shortly after the American Revolution, St. Philip’s was established as its own parish in 1818 under the leadership of Bishop John Henry Hobart and the Reverend Peter Williams, Jr. St. Philip’s long and inspiring chronicle of religious and social activism adds a depth to our national history not generally acknowledged. The movement of St. Philip’s congregation northward, beginning in lower Manhattan, to the present location in Harlem, reflects the residential patterns of New York City’s African-American population. When the Reverend Hutchens Chew Bishop purchased residential property in Harlem in 1908 on behalf of St. Philip’s and the church building was constructed at its present location, St. Philip’s became one of the first institutions to attract African-Americans to Harlem. St. Philip’s Church building was designed in the neo-Gothic style by the firm of Tandy & Foster. The design of the facade, a response to certain liturgical requirements, incorporates fourteenth-century English, or Perpendicular, Gothic elements in contrasting orange Roman brick and cast-stone aggregate. Vertner W. Tandy was the first African-American architect to be registered in the State of New York and George Washington Foster, Jr., was among the first African-Americans to practice within the architectural profession in the United States. St. Philip’s has continued its nearly two-hundred-year tradition of service to its congregation and community, addressing the spiritual needs of its members and providing a variety of social programs.

Salem United Methodist Church, not dated. The Salem United Methodist Church was founded in 1881 as a mission church of a larger congregation. The community first met in a storefront and then a private home. By 1908 Salam was recognized as a separate church from St. Mark's Methodist Episcopal. By the 1920s the congregation had grown to more than 600 and the chapel and meeting rooms used by the parish in brownstones at 133rd Street and Lenox Avenue were no longer sufficient. The congregation moved into this building at 129th Street in 1924. The Calvary Methodist Episcopal Church had moved to the Bronx and sold this late 1880s-built Romanesque Revival church. Between 1908 and 1948 Salem was led by Rev. Frederick A. Cullen, pastor, activist, and adoptive father of poet Countee Cullen. It was here that Cullen married Yolande Du Bois, daughter of W.E.B. Du Bois in 1928. The wedding was a major social event in the history of the Harlem Renaissance. The opera singer Marian Anderson was also a congregant. In the 1950s, the community undertook an interior restoration that honored the historic character of the building but included new floors, organ, pews, and heating and cooling infrastructure. Today the church remains the home of the Salem United Methodist Church.

407 West 130th Street, unknown date.

Once called the "richest Negro church in America," St. Philip's Episcopal Church is also one of the oldest black congregations in New York. The church was organized in 1818 by, among others, Peter Williams Jr., a passionate political activist, and abolitionist. Many of the parishioners of St. Philip's were members of New York's extremely small nineteenth-century black elite. Located since 1886 in the infamous Tenderloin neighborhood on the middle west side of Manhattan, St. Philip's acquired a new church site on the south side of West 134th Street near Seventh Avenue in 1909. (The church also purchased ten apartment houses on West 135th Street that had previously been restricted to whites. When the congregation began its move to Harlem, St. Philip's evicted the white tenants and made the apartments available to blacks. For half a century, rent from those apartments subsidized the St. Philip's endowment). One of the architects of the church, which opened in 1911, was Vertner Woodson Tandy, the first black architect registered in New York and designer of Madam C. J. Walker's townhouse/hair parlor.

The High School of Music & Art, April 3, 1926. The High School of Music & Art for Gifted Children opened for the spring term of 1936, in a William H. Gompert-designed school building at 135th Street and Convent Avenue. Built in 1924 for the New York Training School for Teachers and the associated New York Model School (where the training teachers taught), by the mid-1930s, the hilltop Collegiate Gothic structure housed P.S. 193 and an annex of the Wadleigh High School for Girls. The New York Times reported that the initial Music & Art enrollment of 215 “specially gifted students” would receive instruction “not only to develop their abilities in fine arts or music but to pursue courses leading either to the academic high school diploma for college entrance or the general high school diploma.” Piano instruction was also compulsory. Music & Art opened during the administration of Mayor Fiorello La Guardia, himself an enthusiastic patron of the performing arts. In his remarks at the school’s dedication ceremony, La Guardia predicted that “in five years this will be one of the outstanding high schools in the country.” Over 70 years later, the Mayor’s prediction has been validated by the lengthy list of notable alumcross every discipline of the arts. The “castle on the hill” campus was home to Music & Art from 1936 to 1984, when the school merged with the High School of Performing Arts upon moving into a new campus at Lincoln Center. The new facility was named the Fiorello H. La Guardia High School for Music & Art and Performing Arts. Today, over 2,700 students are enrolled at La Guardia, each with a studio or performing arts concentration. Gompert’s building is today part of the City College south campus, and includes the A. Philip Randolph Campus High School.

The Wishing Tree was originally located in front of the Lafayette Theater on 7th Ave and 132nd Street. In the 1920s and 1930s, 7th Avenue was commonly called the "Boulevard of Dreams" by Harlem residents, as it was lined with prominent performance venues. Reportedly, before performances, actors, musicians and the like would touch the branches and bark of this tree for good luck on stage. The tree was a symbol of promise for Harlem. Unfortunately, the good-fortune granting shrub was chopped down by the Parks Department in 1934 to widen the Avenue, and sections of it were cut up and sold to private hands. Seeking to preserve the public tradition of the lucky charm, Bill "Bojangles" Robinson saved the stump and brought it at a nearby traffic island. The "replanting" ceremony was attended by over 5,000 Harlem residents, who led a "rhythmic planting" in homage to the music industry the tree served. Even Mayor LaGuardia attended the ceremony. A young sapling was planted at the original location of the Wishing Tree, but hope-seekers continued to visit the stump. Soon, a plaque was laid in front of it, which read "The Original Tree of Hope Beloved by Citizens of Harlem." On November 13th, 1934, the New York Daily News interviewed a few visitors to the newly-minted Wishing Tree. Here are their accounts: George A. Seward, of West 132nd Street, unemployed at the time: "My wish is for tolerance among men and between races. We would all be happier if we could live together without hate or prejudice, each man respecting the other's rights and feelings. If you let me make another wish, I'll make a wish for a good job." Miss Margaret G. Jackson of West 143rd Street, a homemaker: "I've just made a wish and that's a good one, brother. I wish that prosperity will return soon to Harlem, like we used to have it five or six years ago. This Wishing Tree was planted in bad times, and if things go by opposites I will get my wish." Edward M. Fentress, of Seventh Avenue, mortician: "To be able to minister to my fellow men. In particular, I want to minister to the aged and infirm and to children. Boy, how I love the little pickaninnies! Everybody does, and I'm also wishing that we will have a fine playground for them somewhere in Harlem." Miss Peg Buckhoy of West 138th Street, a dancer: "$1,000,000 in cash. Just watch my smoke when my wish comes true. It's bound to come true, because this is the Wishing Tree, and that's what they planted it in Harlem for. I'll give Bill Robinson $1,000 a night to teach me the secret of his dancing, although I'm some dancer myself." Mrs. Roberta T. Williams, of West 143rd Street, a homemaker: This Wishing Tree is new in Harlem, and I've come here to wish that every person who makes a wish her will have his or her wish granted. I'm coming again tomorrow to make another wish, and then I'm wishing that I will always continue to look young enough to be mistaken for my daughter's sister." J.W. Stewart, West 128th Street, steward: "I'm wishing for money and plenty of it. With money I can have all the friends in the world and do anything I want to do. Without it there are few friends and very little liberty. People say that money isn't everything in the world, but try to do something without it." The Wishing Tree has since been removed, but a commemorative sculpture, titled "Tree of Hope III," by Harlem artist Algernon Miller, takes its place. A portion of the original stump can be visited in the Apollo Theater.

Interior of Hamilton Grange, date unknown.

Originally constructed for the Baptist Church of the Redeemer, this freestanding Romanesque Revival style building is of great cultural importance to the city for its ties to the Civil Rights Movement of the 1950’s-60’s. After changing hands several times, it was sold in 1936 to the Friendship Baptist Church, founded by the Rev. Dr. John Iverson Mumford. From the beginning, the church supported Civil Rights. Its second pastor, Dr. Thomas Kilgore Jr., was an associate of the Rev. Dr. Martin Luther King Jr., who delivered a sermon here in 1955. Among Rev. Kilgore’s other local and national Civil Rights efforts, he led the church to found the House of Friendship Community Center, which, in 1963, became the National Headquarters for the March on Washington for Jobs and Freedom, organized by Bayard Rustin. The congregation, still active today, was deeply involved in organizing the Harlem community’s participation in that historic March. In addition to its social and political significance, 170 West 130th Street’s façade is architecturally significant as the work of Vertner Woodson Tandy, the first African-American architect registered in New York State. The House of Friendship Community Center is located in the Central Harlem West -- 130-132nd Street Historic District.

Adolph Lewisohn Stadium, during a formal reception for Italian legation when Italy entered World War I., ca. 1915. The Lewisohn Stadium was an amphitheater and athletic facility built where City College's North Academic Center presently stands. Designed by Arnold W. Brunner, the arena opened in 1915 and was the site of City College's athletic events and commencement ceremonies from its inception to 1973, when it was demolished. The structure could not have been built without the financial support of philanthropist Adolph Lewisohn, who donated the money for construction. It was through his contribution that the school was able to construct a great open space that not only served the student body but the public. The stadium was a destination for elaborate theatrical events, summer concerts, including the production of The Trojan Women at the dedication ceremony. In 1973, the structure was demolished to make way for the $125 million North Academic Center.

240 West 131st Street, ca. 1932.

202-204 West 136th Street, ca. 1936. This building has been home to the New York Urban League (NYUL) for over a century. NYUL is part of a much larger, nationwide organization that formed in 1910 to help African American migrants assimilate into urban life. Since the inception of the National Urban League's New York branch in 1918, NYUL has provided essential social services in New York City, helping black individuals find jobs, healthcare, educational opportunities, and also expand their employment.

Interior view of the original front door of Hamilton Grange, date unknown. During the home's time at 287 Convent Avenue (1889-2008), this original door was facing the side of the church next door.

Saint Aloysius Roman Catholic Church ARCHITECT: William W. Renwich DATE: 1902-04 STYLE: Italian Gothic, Church The richly ornamented, polychrome St. Aloysius Roman Catholic Church was built in 1902-04 to the design of William W. Renwick based on Italian Gothic prototypes, an unusual source of stylistic inspiration for buildings in New York City. Named after the 16th-century Italian St. Aloysius Gonzaga, the church was organized in 1899 by Rev. John A. McKenna and constructed during a church-building campaign in Harlem to accommodate the growing immigrant population. W.W. Renwick, nephew of noted architect James Renwick, Jr., joined his uncle’s firm in 1885 and became a junior partner in 1890. In his work in that firm and its successors, and in independent practice after 1900, he specialized in ecclesiastical architecture and decoration. The intricate facade of St. Aloysius, considered one of W.W. Renwick’s most important commissions, consists of alternating bands of red brick, celadon-colored glazed brick (by the Grueby Faience Co.), and glazed “granitex” (with the color and texture of grey granite) terra cotta with cobalt blue accents (by the New York Architectural Terra Cotta Co.) in a wide variety of molded motifs.

The Constitution of the United States of America establishes the laws and governmental structure of the United States. It was first drafted by James Madison and explains which rights are reserved to the national and state governments. The Constitution was ratified in 1787, four years after the official ending of the Revolutionary War. In the years between the Treaty of Paris, which ended the war, and the Constitutional Convention, the United States was governed by a document titled Articles of Confederation. This document gave more power to the various states instead of a single national government. This made important decisions regarding trade, taxation, and defense, very hard to make. Many people recognized the serious situation the new nation found itself in and met in Philadelphia to create a new guiding document. After intense debate, they produced the US Constitution, which still forms the basis of our government. In fact, the US Constitution is the oldest constitution still in use today. While not perfect, this document laid out the fundamental rights that all Americans enjoy today. These different locations throughout New York help to highlight some of the powers and rules laid out in our founding document. NYS Social Studies Scope and Sequence Standards 7.4 & 11.2 For Teachers: US Constitution Lesson Plan

A. Philip Randolph Campus High School, Manhattan Established in 1979, the A. Philip Randolph Campus High School (H.S. 540) occupies the former High School of Music & Art, located on West 135th Street in Harlem. Designed by William H. Gompert and built between 1924 and 1926 in Collegiate Gothic style, the L-shaped building is clad in limestone and mottled buff-to-brown ironspot brick features distinctive square towers. Designated as a New York City Landmark in 1977, the school is named in honor of Asa Philip Randolph, founder of the Brotherhood of Sleeping Car Porters, who is considered to be the greatest African-American labor leader in American history.

A residential enclave, this neighborhood east of St. Nicholas Park features remarkably intact and finely detailed residential rowhouse architecture, built for upper-middle-class professionals in the late 19th century. The community is named for the adjoining park dedicated in 1925 that honors African-American infantryman Dorrance Brooks, who displayed ”signal bravery” in World War I. The square became a rallying point for civil rights protests. Closely associated with the Harlem Renaissance, the area was home to jazz musician Lionel Hampton. Dorrance Brooks Square was designated a historic district on June 15, 2021. Watch the 2020 Grassroots Prersvation presentation on Dorrance Brooks Square

St. Aloysius Roman Catholic Church ca. 1908 It is possible to time-travel in Harlem simply by turning the corner from Seventh Avenue onto West 132nd Street and unexpectedly coming upon William W. Renwick's St. Aloysius's Roman Catholic Church. Built in 1904, following a journey of Renwick's to Italy, its scarlet doors and polychromed terra-cotta so convincingly evoke Italy's late medieval churches that the effect can be somewhat disorienting. The church was built for a primarily Irish congregation. Of particular note was the gold-framed window of yellow leaded glass in the nave, which produced a warm focal point in the space of quiet repose. The window's glow abruptly vanished when a tall apartment building was constructed on the next block.

Drawing of Hamilton Grange, pre-1889. Hamilton's home has only been in its new (and likely final) location in St. Nicholas Park since 2008– not long enough for photographs to be in the collections of NYC archives. For a series of historic photos, make sure to visit the pins for 287 Convent Avenue and 143rd Street between Convent and Hamilton Place. This drawing of the home in its original location (approximately West 143rd Street between Convent Avenue and Hamilton Place) is very similar to how the building looks today. In its final move the original entrance was restored.

New York Training School for Teachers, 1926. Known as the "Castle on the Hill," the school building seen here was built in an "abstracted contemporary Collegiate Gothic style," according to the Landmarks Preservation Commission. Designed by William H. Gompert, Architect and Superintendent of School Buildings for the Board of Education and constructed in 1924-1926, the building originally housed the New York Training School for Teachers. In this buildings teachers were educated and allowed to "practice" teaching. It became the New York Teachers Training College for a few years, but was closed in 1933 when, during the Depression the city had a surplus of 5000 teachers waiting for appointments. Next, the building became Public School 193 briefly before becoming the High School of Music and Art, which it remained for nearly 50 years. Created by Mayor LaGuardia in 1936, it is considered to be the first public high school in the country to have a specialized study of art and music. The school merged with the High School for Performing Arts in 1984 and moved to Lincoln Center. Today the building is occupied by the A. Philip Randolph Campus High School, a public school where screened applicants offered a place in one of three academic academies within. An educational collaboration between the Board of Education and CCNY, the school was established in 1979 and moved into this building in 1983.

Lafayette Theatre, 1936. Known to Harlem locals as "the House Beautiful", the Lafayette Theatre was a Renaissance-style building that became a neighborhood landmark. Completed in 1912 to the plans of theatre architect, Victor Hugo Koehler, the two-story, 1500 seat venue was the brainchild of Lower East Side banker, Meyer Jarmulowsky (of the Jarmulowsky Bank family). Initially, African Americans were only allowed seating in the balcony and then were permitted to buy seats in the orchestra, but were charged double the cost of a ticket for a white patron. Through complaints and the loss of revenue, due to this policy, the theatre made a change. One year after opening, the Lafayette became one of the first major theatres to desegregate. This action brought larger black audiences, and a contemporary critic suggested that this would mean more serious black productions. The Lafayette Players, Harlem's first black legitimate theater group, was founded here in 1916 and the theatre and its adjacent nightclub hosted some of the well-known performers of the day, including Bessie Smith, Moms Mabley, Leadbelly, and Duke Ellington. The theatre closed in the 1930s but was revived as part of the Works Progress Administration's Negro Theater Project. In 1936, its most famous production debuted: a performance of "Macbeth," which moved the action to a Caribbean island, directed by 20-year-old Orson Welles. Referred to as "Voodoo Macbeth," the show played here for 10 weeks before transferring to Broadway and having a national tour. The theatre closed once again in 1951 and the building was purchased by the Williams Christian Methodist Episcopal Church. While the interiors were altered, other than removing the marquee, the exterior remained unchanged until 1990. That year the church demolished the exterior, which was unprotected, and replaced it with a somewhat Brutalist marble and concrete facade. The building and its abutting structure to the south, which once housed the Ubangi Club, a nightclub known for its openness to all races, genders, and sexual orientations, were demolished in 2013. The replacement apartment house is called The Lafayette.